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Creating a Professional Caricature Commission (view source)
Revision as of 22:56, 23 June 2020
, 22:56, 23 June 2020Created page with "{{Infobox book | italic title = Creating a Professional Caricature Commission<!--(Article title goes here and in the 'name' field below.)--> | name = Creatin..."
{{Infobox book
| italic title = Creating a Professional Caricature Commission<!--(Article title goes here and in the 'name' field below.)-->
| name = Creating a Professional Caricature Commission
| image = EFPostCon2015_Page_13.jpg<!--(If no good single image is suitable, use a screenshot of the first page of the article)-->
| image_size = 260px
| border = yes
| alt =
| caption = <!--(If the infobox photo needs a caption, that can be put in this field.)-->
| author = Michael White<!--(use {{unbulleted list|Author One|Author Two|Author Three}} to list multiple authors or subjects)-->
| illustrator =
| subject = <!--(who or what is this wiki entry about?)-->
| genre = How-To<!--(acceptable genres include: Editorial, Op/Ed, Article, Interview, How-To, Member Spotlight, etc. Multiple subjects see multiple authors above)-->
| published = [[Exaggerated Features Issue 2015.1]]
| pub_date = Winter 2015<!--(Should match EF Issue Published date)-->
| media_type = <!--(Digital or otherwise both {{unbulleted list|Print|Digital}} )-->
| pages = 21-24<!--(Page number(s) of the issue the article appears on)-->
| preceded_by = <!--(Previous article in the issue)-->
| followed_by = <!--(Next article in the issue)-->
| notes =
| website = {{unbulleted list|[http://wiki.caricature.org/wiki/EF_PDFS/EF2015.1.pdf Full Issue PDF],|courtesy of {{URL|caricature.org}}}}
}}
A step-by-step demo on how to draw a multi-person commission by Michael White, Winter 2015, pages 21-24.
==Article Transcript==
[[File:EFPostCon2015_Page_12.jpg|266px|thumb|right|For an image relevant to the article]]
[[File:EFPostCon2015_Page_13.jpg|266px|thumb|right|For an image relevant to the article]]
[[File:EFPostCon2015_Page_14.jpg|266px|thumb|right|For an image relevant to the article]]
When it comes to caricature commissions, there’s a lot that goes on between first
contact and getting paid. Usually it all begins with a phone call or an email. The client asks “Do you do that sort of thing?” I reply “of course I do.” Deadlines and budget are next to be agreed upon. Both can vary. Before settling on either, I ask “how much
do you want to spend?” From their reply I can gauge if it’s the kind of job I want to do or pass on. Some potential client’s concept of what they want and what it should be worth are disproportionately out of line with each other and you may have to educate them gently. However, in most cases, I find that when you let the client set the budget at first contact, they usually offer a greater amount than expected. I’m always sure to remind them that my work is guaranteed. Meaning I will do anything it takes to make sure they are happy. For instance, I let them know that they will see and direct each stage of the production so that in the end they get exactly what they wanted. This always makes a client happy. I always tell the client, “I’m not going to sell you something you don’t want to buy.” If you are confident, they will be confident in hiring you. In this case, Shawn contacted me to paint him and six of his best buddies commemorating his bachelor party in the Florida Keys. He wanted me to create one, make copies and give them all a framed caricature at his wedding. So for an 11”x 14” full-color caricature of seven guys, a boat, some Florida lobsters a touch of type and a two-week deadline, we agreed on a price. I asked and he supplied me digital photos and some Facebook contacts to use as reference. He also did a little stick figure sketch for me with notes on it showing me basically what he was thinking. If a composition is complicated and the client already has a vision, I ask them to do a quick, simple stick figure drawing to help get me on the same track. This really helps a lot. He was able to make composition notes and give me some back story on body situations. For instance, one guy got badly sunburned the first day while another was sick the whole time and another was always making everybody drink rum shots.
===== Step A =====
So here’s how the magic happens.
As always, I begin the drawing light
and loose, full size on the final paper
surface. I like to use 3 Ply Vellum
Bristol or Cold Press Illustration
Board. High Quality thick paper
looks and feels more professional. In
this commission I used a #2B Graphite
Pencil on 3ply Vellum Bristol
with the aid of a kneaded eraser for
cleaning up the sketch. I make sure
to show the client this really rough
layout first. This is mostly for size
and composition only. I don’t want
to waste time doing a lot of intense
detail drawing only to find out I
need to change the composition
by adding, subtracting or moving
something. These days, I use my
smart phone to photograph the
work and zap it over to the client.
===== Step B =====
If the client is happy with the rough sketch, I create a cleaned up
line drawing like this one. I try not to draw too heavily but I want it
too look well thought out. Ultimately the drawing has to catch the
likeness, be well composed, neat and clean, and easy to adjust if
needed. That ‘s what you want to show to the client at this stage.
Shawn loved it and I moved on to the next step.
===== Step C =====
Using very versatile water-soluble Windsor Newton Designers
Gouache paint to block in the skin tones. Goauche can be used like
watercolors, or with less water it lays down nice and solid, more like
acrylics. I do both, depending on what I’m painting. Lucky for me,
Windsor Newton has a premixed tube color called Flesh Tint that is
just about perfect for all of my subjects in this piece.
When it comes to painting a caricature, I love to start with the ¼"
or ½" Angular Flat Loew-Cornell Nylon Brush. I use this for blocking
in big areas. I always start the painting by covering all the faces,
bodies and exposed skin with a corresponding flesh tone. I put it
down like this...
===== Step D =====
In my opinion, it’s essential to establish some strong
line quality in a caricature. For details and line
work as presented in Images D and E. I love my #2
Windsor Newton Series 7 Red Sable Brush. It’s been
the favorite of many a comic book artist for over
60 years. It gives the most amazing flexed line with
both paint and ink, but unfortunately it’s getting
harder to find because of issues with Red Sable
availability. In a pinch, Escada Brushes are pretty
good. I find, however, that with a steady hand and
some practice, you can use most any #1, #2 and
#3 Round Nylon brush to great effect. Finding the
perfect brushes is just a matter of trying a lot of
things until you find your favorites. Other comic
book artists taught me to handle a brush for inking
by locking my wrist and controlling my stroke, lifting
up for thin lines and down for heavy lines. Now,
no matter what I’m painting or painting with, I take
that notion into the work.
===== Step E =====
One of my last steps in a
commission is adding the
darkest blacks. I prefer ink for
that chore. Specifically Higgins
Black Magic Ink. I use it for the
blackest black areas like the
pupils in eyes. It’s also good for
nostrils, black hair, clothing or
just a strong holding line where
needed. For some elements, I
use a brush; for others I use
pens. Micron Ink Pens are
great for dead weight lines, the
kind you might want to get
with a straight edge, triangle
or French curve to embellish
mechanical or man-made
things. For instance, thin
things like string, fishing line,
scales, smoke or lettering. Get
ready for a shocker: Even a
nice, sharp, dark pencil works
for some of these final linear
solutions. Sharpie Markers and
Prismacolor Pencils also offer
some options to adding the last
gentle touch-ups and tweaks to
a caricature masterpiece. Can
you tell what specific materials I
used to finalize?
===== Step F =====
Finishing the commission is a necessity for meeting deadlines and getting paid.
Once you think you are done, shoot it over to the client. My client Shawn loved it
and I didn’t have to do too much else, but there were a few obligations to fulfill. I
had to scan it and doctor up the scan to reflect the true color and quality of the
original. I then burned the now digital Photoshop file to a disc and took it to my
favorite printers. They in turn printed out a sample copy for me to approve. Once
I gave the word, they printed out nine copies for me. I always have a few extra
made for my portfolio and files. It’s good to have a favorite copy shop. They did
all this while I waited, and I even used their large-scale paper cutter to cut the
prints down to fit the frames I bought for the client. I ran home and popped the
prints into the ready-made frames I purchased at Walmart.
My deadline had arrived. When it came
time to get paid, I carefully packed up the
7 individually framed caricatures in my car
and met Shawn halfway between his place
and mine. The plan was that he was going to
reimburse me for the frames and I was going
to charge him the agreed amount for the
art and labor. That didn’t happen. What happened
was better. He was so thrilled with the
work and my customer relation skills that
he ended up paying me an extra $150. Later,
over the weekend, he texted me to tell
me how much the guys really, really loved
the caricature. That made me feel so good
that I asked him to send me pictures of his
wedding so that I could do a free party-style
caricature of him and his new wife. I’m sure
this is not the last I’ll see or hear from Shawn
and his friends. You all know this but I’ll just
put it in words, when you give, you always
get back, and isn’t that the beauty of being a
caricaturist? I think so.
Check out more of Michael’s work on his
Instagram, Facebook pages and also on his
YouTube channel.
Information on all can be found on his website
at www.michaelwhiteart.biz.
==See Also==
* [[Relevant Wiki Link]]
* [[Relevant Wiki Link]]
==External Links==
* [http://caricature.org/join-us External Link if needed]
<!--(check the issue number in the navbox template below)-->
{{2015.1Navbox}}
| italic title = Creating a Professional Caricature Commission<!--(Article title goes here and in the 'name' field below.)-->
| name = Creating a Professional Caricature Commission
| image = EFPostCon2015_Page_13.jpg<!--(If no good single image is suitable, use a screenshot of the first page of the article)-->
| image_size = 260px
| border = yes
| alt =
| caption = <!--(If the infobox photo needs a caption, that can be put in this field.)-->
| author = Michael White<!--(use {{unbulleted list|Author One|Author Two|Author Three}} to list multiple authors or subjects)-->
| illustrator =
| subject = <!--(who or what is this wiki entry about?)-->
| genre = How-To<!--(acceptable genres include: Editorial, Op/Ed, Article, Interview, How-To, Member Spotlight, etc. Multiple subjects see multiple authors above)-->
| published = [[Exaggerated Features Issue 2015.1]]
| pub_date = Winter 2015<!--(Should match EF Issue Published date)-->
| media_type = <!--(Digital or otherwise both {{unbulleted list|Print|Digital}} )-->
| pages = 21-24<!--(Page number(s) of the issue the article appears on)-->
| preceded_by = <!--(Previous article in the issue)-->
| followed_by = <!--(Next article in the issue)-->
| notes =
| website = {{unbulleted list|[http://wiki.caricature.org/wiki/EF_PDFS/EF2015.1.pdf Full Issue PDF],|courtesy of {{URL|caricature.org}}}}
}}
A step-by-step demo on how to draw a multi-person commission by Michael White, Winter 2015, pages 21-24.
==Article Transcript==
[[File:EFPostCon2015_Page_12.jpg|266px|thumb|right|For an image relevant to the article]]
[[File:EFPostCon2015_Page_13.jpg|266px|thumb|right|For an image relevant to the article]]
[[File:EFPostCon2015_Page_14.jpg|266px|thumb|right|For an image relevant to the article]]
When it comes to caricature commissions, there’s a lot that goes on between first
contact and getting paid. Usually it all begins with a phone call or an email. The client asks “Do you do that sort of thing?” I reply “of course I do.” Deadlines and budget are next to be agreed upon. Both can vary. Before settling on either, I ask “how much
do you want to spend?” From their reply I can gauge if it’s the kind of job I want to do or pass on. Some potential client’s concept of what they want and what it should be worth are disproportionately out of line with each other and you may have to educate them gently. However, in most cases, I find that when you let the client set the budget at first contact, they usually offer a greater amount than expected. I’m always sure to remind them that my work is guaranteed. Meaning I will do anything it takes to make sure they are happy. For instance, I let them know that they will see and direct each stage of the production so that in the end they get exactly what they wanted. This always makes a client happy. I always tell the client, “I’m not going to sell you something you don’t want to buy.” If you are confident, they will be confident in hiring you. In this case, Shawn contacted me to paint him and six of his best buddies commemorating his bachelor party in the Florida Keys. He wanted me to create one, make copies and give them all a framed caricature at his wedding. So for an 11”x 14” full-color caricature of seven guys, a boat, some Florida lobsters a touch of type and a two-week deadline, we agreed on a price. I asked and he supplied me digital photos and some Facebook contacts to use as reference. He also did a little stick figure sketch for me with notes on it showing me basically what he was thinking. If a composition is complicated and the client already has a vision, I ask them to do a quick, simple stick figure drawing to help get me on the same track. This really helps a lot. He was able to make composition notes and give me some back story on body situations. For instance, one guy got badly sunburned the first day while another was sick the whole time and another was always making everybody drink rum shots.
===== Step A =====
So here’s how the magic happens.
As always, I begin the drawing light
and loose, full size on the final paper
surface. I like to use 3 Ply Vellum
Bristol or Cold Press Illustration
Board. High Quality thick paper
looks and feels more professional. In
this commission I used a #2B Graphite
Pencil on 3ply Vellum Bristol
with the aid of a kneaded eraser for
cleaning up the sketch. I make sure
to show the client this really rough
layout first. This is mostly for size
and composition only. I don’t want
to waste time doing a lot of intense
detail drawing only to find out I
need to change the composition
by adding, subtracting or moving
something. These days, I use my
smart phone to photograph the
work and zap it over to the client.
===== Step B =====
If the client is happy with the rough sketch, I create a cleaned up
line drawing like this one. I try not to draw too heavily but I want it
too look well thought out. Ultimately the drawing has to catch the
likeness, be well composed, neat and clean, and easy to adjust if
needed. That ‘s what you want to show to the client at this stage.
Shawn loved it and I moved on to the next step.
===== Step C =====
Using very versatile water-soluble Windsor Newton Designers
Gouache paint to block in the skin tones. Goauche can be used like
watercolors, or with less water it lays down nice and solid, more like
acrylics. I do both, depending on what I’m painting. Lucky for me,
Windsor Newton has a premixed tube color called Flesh Tint that is
just about perfect for all of my subjects in this piece.
When it comes to painting a caricature, I love to start with the ¼"
or ½" Angular Flat Loew-Cornell Nylon Brush. I use this for blocking
in big areas. I always start the painting by covering all the faces,
bodies and exposed skin with a corresponding flesh tone. I put it
down like this...
===== Step D =====
In my opinion, it’s essential to establish some strong
line quality in a caricature. For details and line
work as presented in Images D and E. I love my #2
Windsor Newton Series 7 Red Sable Brush. It’s been
the favorite of many a comic book artist for over
60 years. It gives the most amazing flexed line with
both paint and ink, but unfortunately it’s getting
harder to find because of issues with Red Sable
availability. In a pinch, Escada Brushes are pretty
good. I find, however, that with a steady hand and
some practice, you can use most any #1, #2 and
#3 Round Nylon brush to great effect. Finding the
perfect brushes is just a matter of trying a lot of
things until you find your favorites. Other comic
book artists taught me to handle a brush for inking
by locking my wrist and controlling my stroke, lifting
up for thin lines and down for heavy lines. Now,
no matter what I’m painting or painting with, I take
that notion into the work.
===== Step E =====
One of my last steps in a
commission is adding the
darkest blacks. I prefer ink for
that chore. Specifically Higgins
Black Magic Ink. I use it for the
blackest black areas like the
pupils in eyes. It’s also good for
nostrils, black hair, clothing or
just a strong holding line where
needed. For some elements, I
use a brush; for others I use
pens. Micron Ink Pens are
great for dead weight lines, the
kind you might want to get
with a straight edge, triangle
or French curve to embellish
mechanical or man-made
things. For instance, thin
things like string, fishing line,
scales, smoke or lettering. Get
ready for a shocker: Even a
nice, sharp, dark pencil works
for some of these final linear
solutions. Sharpie Markers and
Prismacolor Pencils also offer
some options to adding the last
gentle touch-ups and tweaks to
a caricature masterpiece. Can
you tell what specific materials I
used to finalize?
===== Step F =====
Finishing the commission is a necessity for meeting deadlines and getting paid.
Once you think you are done, shoot it over to the client. My client Shawn loved it
and I didn’t have to do too much else, but there were a few obligations to fulfill. I
had to scan it and doctor up the scan to reflect the true color and quality of the
original. I then burned the now digital Photoshop file to a disc and took it to my
favorite printers. They in turn printed out a sample copy for me to approve. Once
I gave the word, they printed out nine copies for me. I always have a few extra
made for my portfolio and files. It’s good to have a favorite copy shop. They did
all this while I waited, and I even used their large-scale paper cutter to cut the
prints down to fit the frames I bought for the client. I ran home and popped the
prints into the ready-made frames I purchased at Walmart.
My deadline had arrived. When it came
time to get paid, I carefully packed up the
7 individually framed caricatures in my car
and met Shawn halfway between his place
and mine. The plan was that he was going to
reimburse me for the frames and I was going
to charge him the agreed amount for the
art and labor. That didn’t happen. What happened
was better. He was so thrilled with the
work and my customer relation skills that
he ended up paying me an extra $150. Later,
over the weekend, he texted me to tell
me how much the guys really, really loved
the caricature. That made me feel so good
that I asked him to send me pictures of his
wedding so that I could do a free party-style
caricature of him and his new wife. I’m sure
this is not the last I’ll see or hear from Shawn
and his friends. You all know this but I’ll just
put it in words, when you give, you always
get back, and isn’t that the beauty of being a
caricaturist? I think so.
Check out more of Michael’s work on his
Instagram, Facebook pages and also on his
YouTube channel.
Information on all can be found on his website
at www.michaelwhiteart.biz.
==See Also==
* [[Relevant Wiki Link]]
* [[Relevant Wiki Link]]
==External Links==
* [http://caricature.org/join-us External Link if needed]
<!--(check the issue number in the navbox template below)-->
{{2015.1Navbox}}
